David Moody
I remember having to study this movie in detail when I studied French in high school.While not overly exciting, the the very name of the movie suggests an emotional nature of some sort.Although many characters play significant roles in this movie, the focus is on violin repairman Stéphane and a rather flawed relationship with business partner Maxime, and violin musician Camille. Although Camille is betrothed to Maxime, she develops an interest in Stéphane, who although he is aware of this, does not reciprocate and even speaks about emotions and how he doesn't feel them. (It would take someone as emotionless as Stéphane not to feel Camille's pain at hearing this). The saying 'Hell hath no fury like a woman scorned' is very much brought to light in a later part of the movie when a very dolled up (and perhaps even slutty looking) Camille confronts Stéphane at the brasserie that serves as a common meeting place for the characters.Stéphane's 'lack of feeling' is put to the test when confronted with the situation of terminally ill elderly friend Lachaume.
uscricump
I didn't think I liked French art movies, and I'm not sure I liked this one. But I have to recognize a masterpiece when I see one. This is the most perfect movie I have ever seen (and of course you know I mean "most nearly perfect"). There is not an extra line of dialog, there is not a cutting of the eyes that doesn't mean something. The acting is superb, and learning to play the violin in order to act in this movie was an heroic act.I checked that this review contains spoilers. Although I am trying hard not to provide any specific spoilers, I have to mention that at the end of the movie comes a scene that seems all out of the blue and disconnected with the entire previous footage. But the DVD I had included as an extra an interview with Claude Sautet in which he said, essentially, "Without that scene we would have been unable to complete the movie." To me it is the scene that answers the question, "Who is Stephane?"--although the answer you get and the answer I get to this question may not be exactly the same.This is not my favorite movie, nor do I rank it as a best movie. But it is just about the most perfect movie I have ever seen. It does exactly what Sautet set out to do, assisted admirably by his principal and secondary actors. If you don't like what they set out to do, that is understandable, but I honestly believe that whether you like what they did or not, they couldn't have done it any more perfectly.I didn't think I liked Ravel string music either, but I have changed my mind on that one.
Goodbye_Ruby_Tuesday
As with THE SILENCE--and, really, most of Ingmar Bergman's best work--this is a film of quiet grace, a subtle film that takes patience but is ultimately deeply rewarding by the end. It's a love triangle of sorts between two friends, a bachelor Maxime and his quiet friend Stephane who are business partners running a violin repair shop. Maxime begins a relationship with the beautiful violinist Camille, who soon becomes attracted to Stefane, who does not overtly return her advances. Stefane is really a voyeur who belongs in the same group as Harry Caul, L.B. Jeffries and Damiel the angel, all people who are flawed or broken in some way on the inside and feel compelled to look at others only from a distance, refusing to become involved. They seem to understand from behaviorism the depths of other people but can barely conceal their own loneliness or broken relationships--Stefane correctly states that he can never give Camille, or any "normal" woman, what she deserves. He deliberately pushes her away when he feels pressured into intimacy. He loves music and handles his violins (which can be argued are shaped like an ideal female body, revealing Stephane's asexuality) the way Maxime and other "normal" men handle women. Director Claude Sautet has a gift with letting human drama unfold, and he carefully studies the behavior of his characters, who come alive without force or question, so much that the audience feels like a you're listening on close friends fighting. Then a real-life couple, Emmanuel Beart and Daniel Auteuil are stunning (such a great, unique romance for a real-life couple--you couldn't ever imagine Brad Pitt and Angelina Jolie ever tackling this together), hitting all the right notes (pun intended) with the precision and understanding of great actors, and even better human beings. Auteuil in particular is spectacular because of Stephane's deep introvert nature, and Auteuil has to allude to so many conflicting emotions that are barely visible beneath the surface, and he does so much just with his eyes, which flutter with happiness and fall with regret with perfect grace.
iam
Exquisitely beautiful film.Performances are sublime. I'm sure I could watch a thousand films without any of them coming remotely close to the layered beauty and grace of this one. As wonderful as it is to watch the trio of Auteuil, Dussollier and Beart, you can sometimes enjoy this movie with your eyes closed. Mais pourquoi? Ravel's music is brilliant beyond words and imagery. Even if you don't care to watch the movie again, which should not be the case if you appreciate the intelligence and artistry of French cinema, check out the soundtrack. Have had my CD for more than 10 years and it's a keeper. Film scores don't get much better than this.So much for happy endings!
AD
